Darren Aronofsky directs my Sunday school panic attacks

Written and directed by Darren Aronofsky, “mother!” is a psychological thriller starring Jennifer Lawrence and Javier Bardem as a couple living in peaceful isolation until a strange visitor unexpectedly arrives and begins to cause conflict. Before my viewing, I stayed away from any explanations and the abundance of discourse, looking to get an unbiased and genuine reaction to the film. This proved to be a challenge as “mother!,” if anything, is making people talk. Brace yourselves and your sinks, because this film made me more anxious than “Dunkirk” and more scared than “It;” Aronofsky needs a hug and I need a Xanax.

Before I delve into the flaws and larger issues that arose in the film, let’s talk about what “mother!” did right. Lawrence, Bardem and Michelle Pfeiffer gave amazing performances. Lawrence’s performance was especially emphasized through the cinematography; most of the film features close-ups of Lawrence, the back of her perfectly styled hair extensions or the camera following her every move. I found myself begging for a wide shot, but Aronofsky is a controlling sadist who wants you to suffer as much frustration and isolation as the protagonist.

Without spoiling the movie, there are moments in the film so graphic (some I had never before seen in a film) that they will leave your jaw dropped. This movie is hard to watch, despite its admittedly decent visuals and direction, and I can only imagine the difficulty of acting some of these scenes out. Y’all who know me know my intense hatred for J. Law (Lawrence), but she really earned a gold star. Also, she’s dating Aronofsky; imagine your man directing you to scream to the point that you tear your diaphragm.

I can understand how some hate the movie and why most are confused. This movie is not for everyone. The biggest thing we can take away from “mother!” is that while it leaves the audience perplexed, it brings to light questions on allegorical movie-making, audience reception and whether or not the ends justify the means.

After revisiting “mother!,” the themes felt incredibly heavy handed and I was left confused by how I did not pick up on such blatant references earlier. Perhaps my complete immersion and total captivation was due to the brilliant direction and storytelling, or maybe it was due to the sheer fact that I could not look away from this cinematic absurdity. Either way, hindsight is 20/20, and this had me thinking how drastically different my movie-going experience would have been if I had read even one of Aronofsky’s statements on how Lawrence represents mother earth and Bardem represents God. Regardless, the viewer is left wondering if subtext or a motif can be a spoiler.

What is so hard to understand is not “mother!’s” complexity, but its striking simplicity after further reviewing the film that leaves the viewer dumbfounded on how they missed the in-your-face brutal storytelling. Conversely, the conflicts of “mother!” are attached to multiple allegories that lead to a multivalency so ridiculous that the number of various viewer interpretations creates a messy dialogue on what “mother!” was even about. Nonetheless, Aronofsky wanted this movie to be polarizing; he wanted a ‘boo’ and a standing ovation. He wanted confusion and rage. It is up to the individual to decide if the auteur went too far.

The movie is polarizing due to how one would perceive the ridiculousness of some of the plot points. Some think the ridiculousness is justified for the sake of the allegories while others see these scenes as unnecessary, uncomfortable, with shock factor added to the movie to get a rise out of viewers. This leaves the casual movie-goer confused, wondering if their interpretation was completely wrong after reading Aronofsky’s straightforward intentions.

It is very obvious Aronofsky likes to break rules with this taboo-ridden filmmaking and knows how to use complex, dark motifs, but some would argue Aronofsky wouldn’t know subtle metaphors if they slapped him in the face. On another note, allegories are meant to be interpreted in different ways, regardless of artist’s intent.

I’ll leave you with some of my own questions to which I would love answers: What was the yellow medicine? How did Aronofsky know what it was like to do laundry at Oxy? Why am I so attracted to Domhnall Gleeson? Why did they cut bread with a serving spoon? Why can’t Ed Harris just leave people alone?

Martin Scorsese’s ‘The Irishman’ stages boat explosion in Hempstead Harbor

Hempstead Harbor will make a big splash as a film location Wednesday as the crew of Martin Scorsese’s 1970s-set mob film “The Irishman” stages a boat explosion there around sunset.

“We made sure that fluids are being removed from the boat, so no oil, no gas, no batteries with maybe battery acid are there” and possibly spill into the water, said Eric Swenson, 62, executive director of the Hempstead Harbor Protection Committee, a consortium of eight nearby mayors and town supervisors and the Nassau County Executive. “They have a barge in the marina that has a containment boom in case it’s needed,” he added.

The pyrotechnics, set to take place on what Swenson called “a pretty big cabin cruiser” at the Harry Tappen Marina on Shore Road in Glenwood Landing, will “not be a huge explosion,” he said. “It’s gonna be on the deck and basically contained within the boat” and then digitally enhanced in postproduction. “Then they’re gonna tow the boat out of there and take it out of the water after it’s blown up.” The Nassau County Police Department’s Marine Bureau as well as bay constables from the Town of Oyster Bay will be on hand.

The harbor will double for the Detroit River in the film, based on Charles Brandt’s 2004 book, “I Heard You Paint Houses,” about Frank “The Irishman” Sheeran, a mob hit man. Sheeran was allegedly involved in the disappearance of Teamsters boss Jimmy Hoffa in 1975. Boats in the marina area are being relocated to one in Glen Cove “so they’re not in the vicinity of the explosion,” Swenson said. “Also, since it’s taking place in 1975, they don’t want newer boats in the shot.”

“The Irishman,” which has shot in multiple locations in the region, brought production Monday to construction firm Seville Central Mix Corp.’s plant in Lawrence — where it already had shot on Oct. 2 — as well as to the former Pathmark building at 1754 Grand Ave. in Baldwin. “In the book there’s a scene in a closed concrete plant,” said company president Peter Scalamandre, 60, who shut down his concrete business both days to allow filming.

On Sept. 25, “The Irishman” shot at the Rodeway Inn in Huntington Station, and a crew on Oct. 2 filmed a small airplane taking off and landing at Brookhaven Calabro Airport in Shirley.

Set to premiere on Netflix in 2019, “The Irishman” might also receive an Oscar-qualifying theatrical run in December next year, according to trade reports. It stars Robert De Niro in his first collaboration with Scorsese in at least 22 years, as well as Al Pacino, Harvey Keitel, Ray Romano and an out-from-retirement Joe Pesci.

What Martin Scorsese Gets Right About Rotten Tomatoes

Last weekend, Professor Marston and the Wonder Women, a drama about the creator of the famed comic-book character, became the latest mid-budget casualty. It was marketed on the back of its connection with Wonder Woman, one of the biggest hits of the year. It received a moderately wide release and got strong reviews, but its three-day box-office total was just $736,883—a flimsy average of $600 per theater, which essentially doomed any future chance of success. Critics and industry insiders alike have lamented for years the decline of modestly budgeted movies aimed at grownups, the sort of film that was once the backbone of Hollywood.

Professor Marston would likely have at least one sympathizer in Martin Scorsese, who recently wrote an op-ed for The Hollywood Reporter on how many good, artistic movies are struggling to find receptive audiences in this new era for the industry. “Box office is the undercurrent in almost all discussions of cinema, and frequently it’s more than just an undercurrent,” said the Academy Award-winning director, who also works tirelessly in the field of film preservation. Indeed, in most cases, a movie is judged a flop or a hit within the first few days of its release. Box-office prognosticators can predict a film’s final grosses almost immediately, and there’s very little chance for word-of-mouth to help build up hype, except in the cases of certain smaller independent works.

But then Scorsese turned to a more dubious, though quite popular, argument about how Hollywood has changed for the worse. “The brutal judgmentalism that has made opening-weekend grosses into a bloodthirsty spectator sport seems to have encouraged an even more brutal approach to film reviewing,” he said, going on to blame the likes of CinemaScore (which gives each major film a rating based on interviews with theatergoers) and Rotten Tomatoes for why interesting movies tank. As an example, Scorsese cites mother!, which was given a wide release in September and debuted to a disappointing $7.5 million, before quickly dropping off. Though reviews were generally positive, audience reaction was apparently universally negative enough to earn it an F CinemaScore, an extremely rare feat.

Scorsese isn’t wrong to critique how the current industry environment hampers creativity and originality: “The filmmaker is reduced to a content manufacturer and the viewer to an unadventurous consumer,” the director argued. But while Scorsese aptly identified many of the challenges artists must deal with, there’s also a much deeper problem facing films like Professor Marston and mother!—the sheer amount of competition they have to overcome to get noticed, and the fact that Hollywood no longer seems very interested in marketing itself to adults.

In his piece, Scorsese wrote that “firms and aggregators [like Rotten Tomatoes and CinemaScore] have set a tone that is hostile to serious filmmakers,” suggesting that they have conditioned viewers to be less interested in complex offerings. “People seemed to be out for blood, simply because the film couldn’t be easily defined or interpreted or reduced to a two-word description,” Scorsese continued. “Good films by real filmmakers aren’t made to be decoded, consumed, or instantly comprehended. They’re not even made to be instantly liked. They’re just made, because the person behind the camera had to make them.” It’s a passionate defense of not just mother!, but also the kind of chance Paramount took by releasing a movie that was tricky to categorize and even trickier to advertise.

But (as Scorsese himself acknowledges) CinemaScore has existed since the 1970s, giving Fs to excellent, if similarly difficult-to-summarize films like Jane Campion’s In the Cut or Steven Soderbergh’s Solaris (along with genuine bombs like I Know Who Killed Me or Disaster Movie). Rotten Tomatoes, too, predates this current age of Hollywood, having been launched in 1998. Its aggregated percentage scores of positive and negative reviews might play some part in a consumer’s decision to buy a movie ticket, but they’re just a reflection of the critical industry itself, even if, as Scorsese said, “the actual name Rotten Tomatoes is insulting.” As my colleague Derek Thompson wrote, it’s long been true “that film criticism moves audiences at the margin but isn’t determinative.”

The brutal gauntlet of reviews, audience reactions, and box office is making it harder and harder for interesting art to survive.

While Scorsese’s essay also mourns the decline of meaningful film criticism, his ire seems vaguely aimed at “many people” who won’t give unusual movies a chance. This is likely because the real problem is much bigger than Rotten Tomatoes—it’s that so much of Hollywood is now fixated on capturing the widest audience possible with every film. Blockbuster action movies, superhero franchises, jolty horror pictures, and animated family films that can draw large crowds are the order of the day. Even mother!, which was light on actual scares but heavy on mood and allegory, was marketed as a horror movie in an attempt to pull viewers; theatergoers who felt misled by the advertising may have contributed to the F CinemaScore rating.

It’s also worth considering that, despite some polarized reviews, mother! actually received a “fresh” rating on Rotten Tomatoes before bombing at the box office. Other well-reviewed, smaller-budgeted pictures like American Made, Battle of the Sexes, and Stronger have similarly been ignored by audiences. Steven Soderbergh’s Logan Lucky, which tried to buck the trend of wide releases needing to be expensive extravaganzas, sadly failed, grossing less than its $29 million budget domestically. When studios themselves complain about the negative influence of Rotten Tomatoes, they tend to do so in defense of movies like Baywatch or the latest Pirates of the Caribbean—terrible films that audiences clearly were not interested in seeing in the first place.

Professor Marston’s failure can’t be attributed to bad reviews, either. The movie was distributed by Megan Ellison’s Annapurna Pictures, an independent production company that used to work with bigger studios like Sony or Fox to release its films, but is now handling the entire operation itself. This summer, Annapurna suffered another notable failure with Detroit, a harrowing re-creation of the Algiers Motel incident by the Oscar-winning director Kathryn Bigelow. Ellison’s studio is obviously trying to upend the idea that an awards-focused, adult-oriented drama can’t be given a wide release the same as any other studio tentpole. But that does look like an increasingly impossible task.

Scorsese’s next film, The Irishman, is being produced by Netflix for $100 million, after his last effort, the critically acclaimed but dense and difficult religious drama Silence, made a paltry box-office impact in December 2016. Netflix is the company that’s most aggressively trying to disrupt the current studio system, lobbing films at customers at an unprecedented rate (it’s planning to release 80 in 2018 alone) and largely ignoring theatrical distribution. New releases land on its app with little fanfare and can be tough for viewers to find, but Netflix doesn’t care—its algorithms, supposedly, will get the right movies to the right viewers eventually.

That makes it harder to know if a Netflix film “succeeded” or “failed” in its first few days of release, to be sure. But the streaming service’s approach doesn’t solve Scorsese’s deeper concern, which should be held by any movie fan—most studios’ apparent disinterest in bankrolling challenging, difficult material and releasing it around the country. The brutal gauntlet of reviews, audience reactions, and box office is making it harder and harder for interesting art to survive. But much more poisonous than Rotten Tomatoes is Hollywood’s current business strategy: stubbornly relying on films that don’t need good reviews to make money.

Darren Aronofsky’s latest film is the “mother!” of all disappointments – The Rocket

Kait Vukovich, Rocket Contributor

It’s finally October, and if you’re anything like me, you celebrate Halloween by curling up on the couch to watch your favorite horror films. In honor of one of my favorite holidays, I’ll continue reviewing one scary, suspenseful, or otherwise spooky movie for you each week for the whole month of October. Over fall break, I saw “mother!,” the latest film from “Black Swan” director Darren Aronofsky. Aronofsky has a reputation for making super disturbing films, which I was well aware of before I saw “mother!” Unfortunately, I soon realized I was not as prepared for this one as I’d previously thought.

Jennifer Lawrence plays mother, a young woman married to Him (Javier Bardem), an acclaimed poet suffering from writer’s block. (No one in the film is ever referred to by name, but each actor’s character is given one in the credits.) The couple lives in Him’s enormous childhood home in the country, which mother has been restoring and renovating after a devastating fire in the hopes of turning it into a “paradise.” One evening, a stranger, Man (Ed Harris), shows up at their house, claiming that he is new in town and was told that they run a bed and breakfast. Much to mother’s dismay, Him forgives the misunderstanding and lets Man stay with them for the time being. The next day, Man’s wife, Woman (Michelle Pfeiffer), arrives to join her husband, and Him again warmly welcomes her into their home. Their guests’ lack of boundaries, manners, and honesty all contribute to mother’s growing feelings of frustration and helplessness as an unwilling host. As time passes, more guests—family members and friends of Man and Woman, as well as Him’s fans—flock to the property, eventually creating chaos, destruction, and mass hysteria, all against the backdrop of mother’s once-idyllic home.

I definitely think that, once again, Aronofsky succeeded in crafting an atmosphere that slowly, strategically made viewers uneasy. While “mother!” definitely belongs in the horror category, it’s not your typical slasher film with cheap jump scares and a murderous villain; instead, the scare tactics are psychological in nature. The scenes that really made me nervous were the ones in which everything seemed to be going smoothly for once—Him and mother finding out they’re going to be parents, or Him finally finishing a poem he’d worked on for months—because I knew something terrible was about to happen.

Unfortunately, that’s pretty much the only thing Aronofsky managed to pull off. The heavy-handed Biblical allegories—mother is portrayed as Mother Earth to Him’s God, Man is Adam to Woman’s Eve, etc.—were one thing, but what bothered me the most was the amount of things that happened for nothing other than shock value. I really don’t like spoiling movies for people, but I feel compelled to warn you that “mother!” is incredibly graphic in nature, and contains violent murder (including that of a child), a barely consensual sex scene, misogynistic abuse, and, uh, cannibalism. It doesn’t make much sense to me that someone as talented as Aronofsky felt the need to resort to lazy storytelling (although it should be noted here that he reportedly wrote the script in just five days).

I didn’t have high hopes whatsoever about this one—I only saw it because the ads I saw on YouTube looked intriguing—but it still sucked to be let down by a director I know can do better. Honestly, I would strongly recommend that you not see this movie, unless you have extra money to blow, two hours to kill, and simply want to be entertained. I gotta say, I never thought I’d see a movie that was more messed-up than “The Neon Demon,” but “mother!” was hellbent on proving me wrong.

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‘David Lynch meets rom-com’ in The End of the F***ing World

Channel 4’s drama portfolio expands even further next week when the channel launches The End of the F***ing World.

Described by commissioning editor Roberto Troni as if “David Lynch made a rom-com road movie about a pair of teen misfits in British suburbia,” it follows James (Alex Lawther of Black Mirror infamy) and schoolmate Alyssa (Jessica Barden) on an expedition to find the latter’s estranged father.

The trailer has the look and feel of a US indie film, albeit with a decidedly British cast.

The lead duo get caught up in a string of violent activities, and are pursued by a pair of police detectives played by Wunmi Mosaku (another Black Mirror alumni) and Game of Thrones’ Gemma Whelan.

Troni has also described the show as funny, brutally violent, and “ultimately quite uplifting in a screwed up way.”

It looks to be a quirky tale, and could quickly gain cult status. Is this the British equivalent of Natural Born Killers?

‘I’m a psychopath’

The trailer begins with James remarking: “I’m pretty sure I’m a psychopath.”

“I thought she could be interesting to kill,” he continues. “So I pretended to fall in love with her.”

Alyssa’s motives in the story seem to be similarly ambiguous, as she says: “I’m not saying he’s the answer, but he’s something.”

“I feel comfortable with him. Sort of safe.”

James sharpens a knife in a contrasting shot.

Jessica Barden is Alyssa in The End of the F***ing World (Photo: Robert Chilton/Channel 4)

Announcing the show earlier this year, Channel 4 described it as a a journey of discovery that becomes progressively ominous.

Lynch comparisons

James’s urges to act on his sociopathic and violent inclinations increase while Alyssa, blinded by love, “remains wilfully ignorant of the consequences that lie at the end of the road.”

The David Lynch comparisons seem to be warranted, and the show looks like a slice of classic Americana – albeit one delivered with British accents.

‘If David Lynch made a rom-com road movie about a pair of teen misfits in British suburbia’ (Photo: Robert Chilton/Channel 4)

Based on an award-winning series of comics from Pennsylvania writer Charles Forsman, the show has been adapted to the screen by Charlie Covell, who has previously penned episodes of Channel 4’s sci-fi drama Humans.

The original soundtrack for the show was developed by Blur’s Graham Coxon – his first full-length TV score – and should provide a suitably Lynch-esque vibe.

The first episode of the eight-part series will broadcast next Tuesday. At the same time, the entire run of episodes will be made available to stream through All 4.

The show will then be available as a Netflix Original globally in 2018.

The End of the F***ing World starts October 24 at 10.20pm on Channel 4

More from i:

How Twin Peaks is inspiring video game designers

Twin Peaks: will there – and should there – be a season four?

Twin Peaks finale: how David Lynch gave us two ‘endings’

Sherilyn Fenn talks Twin Peaks: ‘Audrey is strong, even if she is kinda broken’

David Lynch’s Festival of Disruption Unites ‘Peaks’ Cultists in Meditation Talk and Musical Mayhem – Variety

“It’s a world out there that is horribly stressed,” said Bob Roth, the well-known transcendental meditation (TM) teacher, providing some remarks at a two-day festival designed to raise money for David Lynch’s TM-promoting charitable foundation. And then, as part of their effort to bring tranquility to the world, they showed “Twin Peaks: Fire Walk With Me,” verifiably the most stressful movie ever made.

This was not your grandfather’s TM festival. Lynch’s second annual Festival of Disruption, held over two days at the Theatre at Ace Hotel in downtown Los Angeles, drew some in solidarity with the higher-consciousness cause, others were there just for the musical acts — which also included Bon Iver, TV on the Radio, Sharon Von Etten, and Laura Marling — and more had traveled from around the globe just to get their “Twin Peaks” fandom on with Lynch, who was greeted at least as warmly as a Buddha in a Sunday afternoon Q&A.

Other guests included actors Bill Hader and Pete Holmes, both discussing their meditation practice as well as their comedy with Roth; artist Ed Ruscha, talking about L.A. following a screening of the documentary “Los Angeles Plays Itself”; DJs Moby and Shepard Fairey; and “Twin Peaks” actress Sheryl Lee, as well as that resurgent show’s producer, photographer, editor, and music supervisor.

With nearby art exhibits showing the work of Lynch, Brian Eno, and William Eggleston, as well as a space where attendees could get a Polaroid snapped in a replication of the “Twin Peaks” Red Room, the two-day event was a little bit ComiCon, a little bit LACMA, a little bit Bodhi Tree, and a lot of fun for pop-art hounds of an omnivorous inclination.

For serious fans of the series, the happiest non-surprise was the benediction tagged onto the very end of the festival, as promised, by Rebekah Del Rio, the member of Lynch’s musical company who reprised her powerful “No Stars” from the end of episode 10. The happiest surprise was the appearance of the Mitchum brothers’ three favorite showgirls — Candie (Amy Shiels), Sandie (Giselle DaMier), and Mandie (Andrea Leal) — who, staying in delighted and distracted character the entire time, assisted audience members during Lynch’s Q&A.

“Ladies and gentlemen, the Candie girls!” barked Lynch, to ecstatic applause. After the tumult died down, a woman in the audience yelled out an objection: “They’re women, not girls.” “I know that. They’re human beings is what they are,” answered Lynch. But later, as everyone waved goodbye, the director acquiesced: “To make everybody happy, we’ll call them, this time, the Candie women.”

Lynch had a good number of expansive moments — especially when it came to spiritual evolution — and a few less so, like when it came to explaining “Twin Peaks.” Interviewer Kristine McKenna, who is working with Lynch on an artistic memoir, went out on a limb and asked about the infamously surrealist episode 8, asking about “Bob and the evil egg, and the implication that that was the birth of evil we were witnessing. Do you think that’s true?” “I don’t talk about things like that, Kristine,” he replied, quickly shutting that line of inquiry down as she gave up an apologetic I-tried chuckle.

He was at least able to deny, if not confirm, a few theories. A fan asked about Sky Ferrara rather violently scratching an itch in her one appearance in a roadhouse scene, wondering if it signified anything. (At least one blog had actually wondered about a possible metaphysical connection to Mike, the one-armed man.) “Sometimes human beings get a bad rash,” Lynch replied. “But,” the fan protested, “with your art, I believe everything ties in to something, and that’s what screws me up.” “I understand,” said Lynch, reiterating: “That, I can tell you, is pretty much a basic rash.”

The best exchange, at least for a certain subset of fan, came when someone stepped up to one of the Candie gals’ mics and inquired: “My question is, is James cool and if so how long has he been cool?” The audience didn’t chant along with Lynch’s answer, though many of them well could have: “James is cool. James has always been cool.”

David Lynch

CREDIT: Jacob Boll

Given that the festival was a benefit for Lynch’s foundation, which promotes the use of TM in dealing with PTSD for veterans and anxiety for troubled teens, the director was as high-minded as you might imagine in discussing his belief in spiritual evolution: “It’s every human being’s birthright to one day enjoy supreme enlightenment … One day, each of you will become a seeker, and you’ll look for a technique that allows you to transcend. You’ll get on the path. You’ll start unfolding rapidly your full potential. And one day, bingo, you’ll be in supreme enlightenment, total fulfillment, total liberation, immortal, zero chance for suffering, zero negativity.”

“Zero negativity” isn’t exactly the hallmark of the films from the director who gave us Frank Booth, though, and he addressed the seeming disparity. “A lot of times people say, okay, you’re on a spiritual path, you should do uplifting films that benefit humanity. And that’s beautiful, if that’s what you really love and comes out of you…  Ideas come along and some I fall in love with… and I want to translate them to one medium or another, and I go. I don’t think my films are all darkness. There are many things swimming in them.” And then Lynch, the man who’d spent so much time quoting the Maharishi, quoted another holy man, Samuel Goldwyn: “If you want to send a message, go to Western Union.”

Hader brought down the house with his impression of Lynch. “I tried to get David Lynch on [‘Saturday Night Live’] forever and could never figure it out,” he said, recalling meetings with Lorne Michaels where he would do Lynch’s distinctive voice: “’I have an idea about a wind. A sketch about a wind that’s a key to a mystery. Red lips, green lawns, and a wind.’ … We would just sit in the office and do that for hours.”

Hader’s bigger role was to tout how TM had helped cure him of the crippling panic attacks he suffered every week before going on the air in his early “SNL” years. “I was terrified… I’d have two lines on the show and I would be up all night every Friday… I’ve been a big meditator, and it unlocked this thing and that fear kind of went out of me in a way,” said Hader. “That insecurity that builds anger sometimes, I felt dissipate the more I did it. And it’s a thing you have to keep doing. I started it like a lot of people and then I dropped off because I went ‘Hey, I’m cured!’ That’s not how it works… I’ve been doing it twice a day – and this is not a joke – since the day Trump became president.”

Bill Hader and Bob Roth

CREDIT: Jacob Boll

Bon Iver’s Justin Vernon didn’t speak about TM, but did endorse the spiritual overlay of the festival. “We need to start going in and stop going out so much,” he advised. Present experiences excepted, of course.

Vernon wasn’t having any panic attacks, but he did remark, presumably jokingly, about doing a solo set. “Very kind of you. It’s very lonely up here,” he quipped early on, establishing an easy, funny rapport with the audience that came in handy when it came time to quip about the technical difficulties that arose from being a one-man-band. His use of a loop pedal for many of the songs made for a slightly Ed Sheeran-esque (or Jon Brion-esque) experience, most startlingly in a closing slow build-up of 2009’s “Wood.” He wasn’t joined just by the equipment: Von Etten came out to duet with him on her “Love More,” which he referred to as one of the most beautiful songs he’d ever heard. At the end of it, they embraced — not a show-biz embrace, but an almost uncomfortably-long-by-Hollywood-standards one, with Von Etten tenderly grasping the back of Vernon’s head. And suddenly transcendence didn’t seem like just talk.

Marling also performed solo, albeit with an acoustic guitar and none of Vernon’s electronic aids. Von Etten’s was practically a solo set, too; at least, she was sans band, joined by a couple of keyboard player pals for her first live appearance since having a baby. It was up to TV on the Radio, on Saturday, and the Kills (pictured below) on Sunday to bring the noise. “Get up and dance! Eventually,” said TV on the Radio’s Tunde Adebimpe, sensing, correctly, that a charitable-contribution crowd needed permission so soon after experiencing Marling’s Joni-esque ballads and open tuning as the first live music of the event.

The crowd did, perhaps sooner than the singer expected. And there was far less hesitation on night 2, when the Kills, just one weekend after rocking Cal Jam out in San Bernardino, overpowered a house now primed to more easily make the shift from discussions of guided meditation to pure guided mayhem.

The Kills

CREDIT: Jacob Boll

Susan Lacy Presents a Deeply Personal Look at Steven Spielberg – Below the Line

spielberg01In her new HBO documentary about director Steven Spielberg, simply called Spielberg, filmmaker Susan Lacy shows us a previously unknown perspective on the legendary creator of Jaws, Close Encounters of the Third Kind, Raiders of the Lost Ark, E.T., Jurassic Park, Schindler’s List, and Saving Private Ryan among many more.

spielberg03One of Lacy’s film’s more illuminating segments concerns the camaraderie which Spielberg had with other young directors in the 1960s and 1970s, many of whom became notables in their field, including George Lucas, Martin Scorsese, Francis Ford Coppola, John Milius, Paul Schrader, and Brian De Palma. “George Lucas says it pretty well,” Lacy recalled. “‘None of us expected this.’ They were obsessed with films and went on to dominate the film business for many decades. I always look at it like Paris in the 1930s—there was something in the water at certain moments in the Zeitgeist.”

spielberg02Nonetheless, Lacy points to Spielberg being distinguished from his colleagues at the time, in at least one respect. “Steven’s aspirations were different,” she revealed. “I think from the time he was beginning in the business, he really wanted to be part of the studio system. He identified and wanted to be one of those workhorse directors in the 1940s. That allowed him to work in a variety of genres and to make one film after another. The other guys were much more independent and didn’t want to make studio films. Steven wanted to be a studio filmmaker.”

Unquestionably, Lacy had unprecedented access to Spielberg’s own archives, not only of photographs, but home movie footage. “He trusted me,” Lacy explained, “when he gave me the footage of him in the 1970s with those filmmakers. He shot all of that—it was very carefully protected and guarded. He is a very cautious man and doesn’t open up that easily. That was gold to be able to get that.”susan_lacy_spielberg

spielberg04Additionally, Spielberg is notably hesitant to reveal those portions of his life outside of his work, but Lacy had an unparalleled entreé to his parents, sisters, and other personal entities. “He protects his private life. He understood that if I was going to be able to illustrate that family have affected who he is and his movies, he had to give me access. I hope I honored it.”

Despite Spielberg’s stance as a mainstream moviemaker whose films cross boundaries of virtually all demographics, in her documentary, Lacy set out to counter the notion that Spielberg is not a personal filmmaker. “I think he is a deeply personal filmmaker,” she revealed. “You have to explore the man and see how that persona and his values enter into his pictures. He had never looked at his work quite that way. The films operate out of a certain degree of mystery and magic. You can’t take yourself out of that equation.”

spielberg06In point, many of Spielberg’s films confront the issue of a broken home and an absentee father concept in some form. That reality exists in his early triumphs such as Jaws, Close Encounters, and E.T., but in his later non-genre work as well. Viewers who are familiar with Spielberg’s own family situation will be enlightened by revelations in Lacy’s film regarding the causes of the rift — and are cautioned in reading further here. “Catch Me if You Can is really an autobiographical film in a lot of ways,” she said. “Christopher Walken’s wife married his best friend. Steven’s mother fell in love with HIS best friend—she left. They went along with this illusion [that Spielberg’s father left the family]. His father didn’t tell him for a long time. It’s a bit of a mystery.”

Moreover, Lacy noted that Spielberg’s mother and father eventually reconciled and that, in Indiana Jones and the Last Crusade, Spielberg makes Indiana Jones and his father, played by Sean Connery, reconcile.

Lastly, Lacy confessed that her preferred section in making this feature-length documentary concerned Spielberg’s involvement in Schindler’s List. “It went to a whole other level for me,” Lacy said of the Oscar-winning story of the righteous gentile who proactively rescued Jews in Poland during The Holocaust. “It was a risk—not guaranteed to have an audience. His heart and soul was in that movie; it brought another level and depth of filmmaking to Steven. He went with his gut completely, threw out all of his tools.”

Spielberg is airing all through October on HBO.

Mikkeller produces Twin Peaks beers for David Lynch’s festival – The Post

The New York division of Danish microbrewery Mikkeller has produced three special Twin Peaks beers in collaboration with the show’s co-creator and director David Lynch.

Lynch was involved in all aspects of the production process – from tasting and formulation to choosing the names and packaging, which uses illustrations based on “iconic scenes” from the series.

The beers are called ‘Log Lady Lager’, ‘Red Room Ale’ and ‘Damn Good Coffee Stout’, and were officially released at Lynch’s Festival of Disruption in Los Angeles over the weekend.

“The Mikkeller NYC team loves Twin Peaks and serendipitously knows some great people who work with David Lynch.  Once the conversation began, the ideas and collaboration flourished organically,” explained Jim Raras, the NY general manager, to mikkeller.dk.

As well as in LA, the beers are also being sold at selected outlets in San Francisco, Oakland and San Diego.

Von Trier’s producer rejects Björk’s sexual harassment claim
Following on from the revelations that film producer Harvey Weinstein has been sexually assaulting women within the industry for decades, Icelandic singer Björk, 51, has taken to Facebook to claim she was sexually harassed by a Danish director. It is widely believed she is referring to Lars von Trier as he is the only Danish director she has worked with – on ‘Dancer in the Dark’ in 2000. “It seemed to me that it is taken for granted that a director can touch and harass his actresses when it suits him and that the film company allows it,” wrote Björk. However, Von Trier’s long-time producer, Peter Aalbæk Jensen from Zentropa, told Jyllands-Posten he remembered it differently. “That woman was stronger than both Lars von Trier and me and our company put together,” he said. “If anything we were the victims … so I’m a little gobsmacked.”

Denmark’s oldest history book on display
The oldest surviving Danish history book is currently being displayed at the Møntergården museum in Odense. However, this is not a first edition copy of Ælnoths Krønike, an account of the reign of King Knud the Holy (1080-1086) penned by the English monk Ælnoth in the Funen city in around 1100. Lent by a library in Belgium, the copy dates back to the late 12th century. Lars Boje Mortensen of the University of Southern Denmark told DR the book is like “an expensive Mercedes” and was worth as much as 3 million kroner.

Tight-lipped MØ discusses album … a bit
Danish singer MØ has said her long-awaited follow-up to her 2014 debut album ‘No Mythologies to Follow’ will “reflect her current mission to live in the moment” in an interview with out.com. Previously tight-lipped on the contents of the album, she added: “I’m always striving to be free through my music – to be without worries – and to become more connected with myself.”

Famed filmmaker David Lynch to launch cinema institute, film fest in Georgia

Esteemed American filmmaker David Lynch is in talks for opening a cinema institute and film festival in Georgia with his local partners, ahead of the celebrated director and producer’s visit to the country next month.

Lynch, widely praised by critics and his peers for works including Twin Peaks: Fire Walk with Me and The Elephant Man, will collaborate with the newly established David Lynch Foundation Caucasus (DLFC) – a branch of the director’s international organisation – for the two initiatives.

The moves include plans for establishing a cinematography institute and an “A-class” international festival in Georgia, with initial meetings already held between DLFC manager Giga Agladze and the Georgian parliament’s education committee, ahead of the visit of the celebrated filmmaker.

Lynch and Agladze during the Los Angeles meeting this year. Photo: DLFC.

This is a great opportunity for Georgia to host the internationally renowned director and hold talks with his foundation about prospective cooperation avenues.”

[The establishment of DLFC] will offer historic opportunities for developing Georgia’s cinema industry as well as new projects in the education field [of the country]”, said Chairperson of the Education, Science and Culture Committee of the Parliament of Georgia Mariam Jashi following the meeting with DLFC.

Agladze stressed the “close relations with the Hollywood and great directors”, kick-started through the move, also telling the media “stars of the Hollywood” would soon travel to Georgia in frame of the initiative.

The projected launch of the international cinematography institute named after Lynch is aimed at turning the quality of country’s filmmaking education into a regionally leading position, said a release by the committee.

Beside the projects for the institute and festival, the cooperation is also projected to include initiatives for the David Lynch Foundation’s work on road safety and post-trauma rehabilitation internationally.

In line with meetings held during the visit of Lynch to Georgia, the films of the celebrated director will be screened to audiences.

In an about-face, the lens is on Steven Spielberg

Steven Spielberg stood outside the main theater on the Paramount Studios lot last month, waiting for the premiere of a documentary that had already put him through an emotional wringer.

“It was like pulling a bandage off very, very slowly,” said the Oscar-winning entertainment mogul in recalling the first time he had viewed the film about a year ago. “I had to watch it in stages, in dollops. But when the bandage finally came all the way off, I realized it didn’t hurt so bad.”

What had initially unnerved Spielberg was the subject of the documentary: Steven Spielberg.

The film, simply titled “Spielberg,” which debuted Oct. 7 and is now airing on HBO, is the most extensive and insightful examination to date of the filmmaker, who is at once the most popular and successful in movie history, and one of the most private and elusive creators in Hollywood..

Said the 70-year-old Spielberg, “I knew in watching the film, I would have to face myself. I had a couple of nice cries. But I was very pleased. If I had to do it all over again, I would do it with Susan.”

“Susan” is Susan Lacy, the creator of the groundbreaking “American Masters” series on PBS, which centered on revelatory profiles of several prominent artists and musicians, including Paul Simon, Joni Mitchell and the late Mike Nichols. Lacy left PBS four years ago after signing a multiyear deal with HBO to produce and direct documentaries. “Spielberg” is her first project for the pay-cable network.

The 2½-hour film utilizes generous clips from blockbusters (“Jaws,” “Close Encounters of the Third Kind,” “E.T the Extra-Terrestrial”), more serious endeavors (the Oscar-winning “Schindler’s List,” “Saving Private Ryan”), films that stoked controversy (“The Color Purple”) and even misfires (“1941”).

The filmography traces the evolution of the artist who first fell in love with movies as a young boy and later blossomed into a master craftsman and storyteller whose phenomenal financial and commercial success changed the face of the film industry.

“Most people don’t think of Steven as a personal filmmaker,” Lacy said in an interview a few hours before the premiere at Paramount, where she would be joined by Spielberg and some of the A-listers who have appeared in his films, including Tom Hanks, Vin Diesel and Holly Hunter.

Lacy continued: “They think of him as a commercial filmmaker. They don’t think of him the same way that they do a Marty Scorsese. I thought he was not as valued a director because he’s so successful that it’s kind of hard to look at him as an artist and as a personal filmmaker. So that’s what I wanted to do – I wanted to tell that story and tell it through his films.”

The film also illustrates how Spielberg’s personal turmoils and triumphs have emerged as themes in his work. His unconventional upbringing – which included being bullied as a child and the divorce of his parents leading to bitter estrangement from his father – and his longstanding denial of his Jewish heritage followed by an overwhelming embrace; his divorce from his first wife, actress Amy Irving; and his bliss with second wife, actress Kate Capshaw, and their large multicultural family are all factors that come into play in “Spielberg” the film and Spielberg the filmmaker. Also prominent are home movies of Spielberg at work and at play, many of which have never been seen.

Weighing in with testimonials and anecdotes are members of Hollywood’s elite – directors Scorsese, George Lucas, Brian De Palma and Francis Ford Coppola, as well as Hanks, Hunter, Leonardo DiCaprio, Liam Neeson, Dustin Hoffman, Oprah Winfrey and Christian Bale, who made his film debut as a 13-year-old in Spielberg’s “Empire of the Sun.”

Lacy characterized “Spielberg” as “the most challenging film I’ve done. Steven is a living legend, and he is still with us. And to do a film about the most famous and successful director in the world is itself a challenge. I chose not to think about that too much. If I had, I don’t think I would have been able to make the film.”

The two convened for “at least 15 interviews, minimum two hours each.” Lacy also conducted close to 90 additional interviews.

Despite his massive success, Spielberg has long maintained a low public profile – he rarely grants interviews and has never recorded a DVD commentary for any of his films. Still, convincing him to participate in the project proved to be relatively easy for Lacy – the two had established a good rapport when she had interviewed him for a few previous “American Masters” installments, including a profile on artist Norman Rockwell. (“He has one on the biggest private collections of Norman Rockwell in the world.”)

“I think we took a couple of times to really warm up,” Lacy said. “But from the beginning, we trusted each other – I trusted that he was going to be open with me, and he trusted that I would make a good film.”

She said there were “absolutely no ground rules” for the project, though there were delicate areas.

His divorce from Irving remains “a sensitive and tender topic” for Spielberg, although he does address it in the film.

“They’re still friends, and they share a son. It wasn’t a bitter situation – it just didn’t work out. I said it had to be in the film, that we couldn’t ignore it,” Lacy said. Also, Capshaw, who starred in “Indiana Jones and the Temple of Doom,” declined to be interviewed, although she did provide Lacy with some home movies of the family.

Still, tackling the depth and expanse of Spielberg in 2½ hours was a daunting task – at one time, Lacy considered extending “Spielberg” to two nights. And even though Spielberg is a Hollywood hyphenate – studio owner, film producer and executive producer of numerous television series – Lacy chose to focus mostly on his achievements as the director of more than 30 films.

The tone of the documentary is primarily positive – it is clear that Lacy is a huge admirer of Spielberg’s work. Much of the project is weighted toward his career highlights – about 25 minutes is devoted to “Schindler’s List.” His less successful films, such as “1941,” “War Horse,” “The BFG,” “The Terminal,” “Hook” and “Always” are barely discussed or absent from the film.

Still, Lacy pointed out that she did include less than positive views on Spielberg in the documentary. Some film critics take shots at what they said was the downplaying of the gritty realism of novelist Alice Walker in his adaptation of “The Color Purple,” and “Empire of the Sun” screenwriter Tom Stoppard takes exception to the sentimentality of that film.

Lacy acknowledged that some viewers and observers of Spielberg may find fault with the tone of the documentary.

“I am proud of the film,” Lacy said. “Now I’m just nervous on how people will react. I know there will be those who will feel I wasn’t critical enough. But, hopefully, people will get past that.”

What matters most to her is Spielberg’s stamp of approval.

When he called and said he loved it, “I felt myself shaking. I was in tears and said, ‘You have to know what this conversation means to me.’”

And Spielberg said the documentary gave him a fresh perspective on his work and life: “It’s not that it taught me about the past, but it gives me renewed encouragement about moving forward and continuing my life as a director, and as a father and husband.”

Mikkeller Collaborates with American Film Director David Lynch

LOS ANGELES — Participants at David Lynch’s Festival of Disruption can choose between ’Log Lady Lager,’ ’Damn Good Coffee Stout’ and ’Red Room Ale’ when the three Twin Peaks beers are launched in conjunction with Lynch’s Festival of Disruption in the coming weekend.

The collaboration between the legendary film director and Mikkeller was initiated by the New York division of Mikkeller.

“The Mikkeller NYC team loves Twin Peaks and serendipitously knows some great people who work with David Lynch. Once the conversation began, the ideas and collaboration flourished organically,” says Jim Raras, General Manager of Mikkeller Brewing NYC.

Stout with Lynch’s own coffee

David Lynch was heavily involved in all aspects of the process starting with the concepts, names and all the way through sensory analysis and tasting. In particular, he and Mikkeller’s art director Keith Shore traded ideas and conspired on the packaging.

“Lynch and his team sent us a mood board of various Mikkeller labels they liked and shared images of Lynch’s drawings. Each illustration is based on iconic scenes from Twin Peaks, and the color palette is also taken from the television series,” Keith Shore explains.

One of the beers, ’Damn Good Coffee Stout’ (an oatmeal stout with coffee) is brewed with Lynch’s own coffee, David Lynch Signature Cup Organic House Blend.

Festival of Disruption

Festival of Disruption focuses on music, art, film and meditation. The festival will take place at the Theater Ace Hotel in LA. On the music front, names such as Bon Iver, Sharon Van Etten, Tv on the Radio, The Kills, Moby and Lynch himself are performing. In addition, there are special screenings of ‘Lost Highway’ and the documentary about Lynch ‘Don’t Look at Me.’ There will also be a number of talks which include the famous American cultural journalist Kristine Mckenna holding a panel with Lynch and the actor Bill Pullman.

In addition to being launched at the festival, the three Twin Peaks beers are sold in limited amounts at Mikkellers locations in LA, San Francisco, Oakland and San Diego.




Quentin Tarantino breaks silence on longtime partner Harvey Weinstein

Director Quentin Tarantino is breaking his silence about the sexual misconduct allegations against his longtime producing partner Harvey Weinstein.

The former Weinstein Company boss distributed Tarantino’s breakout film, 1992’s Reservoir Dogs, and they’ve been working together ever since, with Weinstein executive producing the director’s works ranging from Pulp Fiction to Kill Bill to The Hateful Eight.

The Oscar-winning director released a statement via his friend Amber Tamblyn, Variety first reported. In the tweet, the director says he’s “stunned and heartbroken” but is still processing the revelations and will speak out more fully at another time:

In addition to being producing partners, Tarantino and Weinstein are close friends. Weinstein threw an engagement party for Tarantino and his fiancée, Israeli singer Daniella Pick, earlier this year. And Weinstein backed up Tarantino two years ago when the director was slammed by law enforcement groups for speaking out against police brutality.

Tamblyn has worked with Tarantino before, previously making a brief appearance in Django Unchained. The actress wrote on Twitter that she had a “long dinner” with Tarantino, who asked her specifically to share his statement.

Weinstein’s career unraveled following an exposé published by the New York Times last week, which included numerous allegations of sexual harassment. This week, the New Yorker and New York Times both published new accounts of Weinstein’s alleged misconduct. Three women came forward with claims that Weinstein had sexually assaulted them, including actress and filmmaker Asia Argento, who said Weinstein raped her by forcibly performing oral sex on her. On Twitter, actress Rose McGowan claimed: “HW raped me.” It was previously reported by the Times that Weinstein allegedly paid McGowan a $100,000 settlement following an undisclosed incident in a hotel room during the Sundance Film Festival in 1997. In response to the allegations, a representative for Weinstein said, “Any allegations of non-consensual sex are unequivocally denied by Mr. Weinstein.”

Al Pacino as Jimmy Hoffa Revealed in Martin Scorsese’s The Irishman

Al Pacino has been spotted on the set of Martin Scorsese’s The Irishman in Suffern, New York. Robert De Niro and Joe Pesci were first seen filming back at the end of September, but Pacino has not been seen until now. The 77-year old Al Pacino was filming scenes with 74-year old De Niro and the two appear to be enjoying their reunion as they can clearly be seen smiling in between takes. De Niro has worked with Pacino on 1995’s Heat, 2008’s Righteous Kill, and they were both in The Godfather Part II, though they never appeared on screen together.

Martin Scorsese and Robert De Niro have made eight movies together, one of the most fruitful and consistent creative partnerships in Hollywood history. Joe Pesci has had supporting roles in three Scorsese pictures including Raging BullGoodfellas, and Casino. Shockingly, Scorsese has never worked with Pacino before, despite the actor’s role in one of the greatest crime sagas not made by Scorsese, The Godfather. Pacino plays Jimmy Hoffa, who served as the President of the International Brotherhood of Teamsters union and was also involved with organized crime. Hoff mysteriously disappeared in 1975 at the age of 62.

The Irishman is based on the 2003 book, I Heard You Paint Houses, by Charles Brandt, which recounts the years Frank “The Irishman” Sheeran (Robert De Niro) spent as a mob hitman. Brandt interviewed Sheeran over a 5-year period, during which the mobster confessed to being involved in more than 25 hits for the mob. Sheeran was allegedly (detectives do not believe that he was responsible) involved in the death of legendary mob boss Jimmy Hoffa (Al Pacino), who went missing in July 1975 and was never found. The Irishman is the first gangster movie that Martin Scorsese has made in over a decade and was reportedly good enough to get Joe Pesci out of retirement.

The Irishman will have Frank “The Irishman” Sheeran as an older man, looking back at his life and his mob hits that made him infamous. In order to tell the story realistically, Martin Scorsese is teaming up with George Lucas’ VFX company, Industrial Light and Magic, to utilize the same effects used on Brad Pitt in The Curious Case of Benjamin Button so that De Niro can be digitally aged to look younger in the flashback scenes. The Irishman will include flashbacks that span decades, and De Niro is set to play Sheeran in all of them. He’ll reportedly appear as young as 30 years old in the movie.

There is no official premiere date for Martin Scorsese’s The Irishman yet, but production is expected to wrap in December. One has to imagine that applying the CGI de-aging effects in post-production will take quite a while, so we might not see the movie for a while. That being said, Scorsese intends to have The Irishman have a short theater run so that it can be http://movieweb.com/new-movies-online-sooner-theatrical-release-window-shortening/considered for awards season. In the meantime, check out some new pictures of Al Pacino as Jimmy Hoffa on the set of The Irishman courtesy of the ExperimentalFilmSoc’s Twitter account below.

Quentin Tarantino, Emma Thompson, Tom Hanks, Heidi Klum, more speak out about Harvey Weinstein

Quentin Tarantino, Emma Thompson, and Heidi Klum (Photos: Dominique Charriau/Getty Images; John Phillips/Getty Images; Dimitrios Kambouris/Getty Images)

We’ve heard from the insensitive clods (and Lindsay Lohan, who just might not know any better) who have either tried to sweep the sexual assault allegations against Harvey Weinstein under the rug (again), blamed women for daring to be in the same room as men ever, and who think being a predator is a partisan issue (it’s really not). That list continues to get updated, because there are lots of terrible human beings out there, so we’ve decided to try to offset some of the worst takes with examples of people rightly denouncing Weinstein. Actors, regardless of whether they ever worked with Weinstein, are speaking up about his abuse of power, as well as all the contributing factors that let him get away with this for so long. Read on for a possible boost in your confidence in humanity, and note that we’ll probably be updating this, too.

Emma Thompson: Harvey Weinstein isn’t a sex addict, “he’s a predator.”
Emma Thompson gave a response to BBC Newsnight that is both incredibly sympathetic and galvanizing (frankly, we’d expect no less). The actor-director dispenses with British niceties and calls Weinstein a “predator” who is at the top of a “ladder of harassment, and belittling, and bullying, and interference.” Thompson thinks “the crisis of extreme masculinity,” and the fact that it’s “represented by the most powerful man in the world at the moment,” is a huge contributor to rape culture. And she doesn’t think someone needs to be a serial abuser or rapist to be called out: “Do they have to all be as bad as him to make it count? Does it only count if you really have done it to loads and loads of women, or does it count if you’ve done it to one woman? I think, the latter.”

A “stunned” Quentin Tarantino promises to speak on the Weinstein allegations publicly.
Tarantino and Weinstein have been friends for 25 years, the director notes in a statement he shared via Amber Tamblyn on Twitter. He’s “heartbroken” and in need of more time to process the whole thing, but says he’ll speak publicly on the matter.

Tamblyn, who’s taken on old creeps in Hollywood before, regularly voices her support for survivors, and has been tweeting about the Weinstein abuse since the news broke.

Ryan Gosling: Weinstein is “emblematic of a systemic problem.”
Points to Gosling for acknowledging how widespread the issue is, and for managing to show empathy for women without invoking either of his two daughters or his longtime partner, actress Eva Mendes.

Holly Hunter’s statement, via Variety: Weinstein’s abuse of women is “the lowest of the low.”
Hunter starred in and won an Oscar for The Piano, which was directed by Jane Campion and distributed by Miramax. And while she says Weinstein remained professional with her, she is “[infuriated]” by his actions, which saw him accost or assault more than 30 women. “I join my community in standing by these courageous women,” Hunter says.

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Kate Beckinsale: Saying no to Harvey Weinstein “undoubtedly harmed my career” 

This morning it was finally announced that the NYPD is reviewing the sexual harassment and assault…

Read more Read

Tom Hanks isn’t buying Weinstein’s “I thought it was still the ’60s/’70s!” defense.
Speaking with The New York Times, America’s Dad said, after noting he’s also a product of that swinging era, “I know all kinds of people that just love hitting on, or making the lives of underlings some degree of miserable, because they can.” Despite never having worked with Weinstein, Hanks said the report that Weinstein harassed or assaulted 32 women “all just sort of fits, doesn’t it?”

Heidi Klum admires the “brave women who are coming forward.”
Klum hosts Project Runway, which Weinstein executive-produced from the second season on, though he’s since been booted. The Hollywood Reporter reached out to Klum for a comment, and like every other woman on this list (and in the world), she knows Weinstein’s actions aren’t “a rare occurrence in our society,” and “we would be naive to think that this behavior only happens in Hollywood.”

Leonardo DiCaprio said there’s “no excuse for sexual harassment or sexual assault.”
DiCaprio didn’t call Weinstein out by name, but he did write in a Facebook post that he applauds the women who have come forward.

The Weinstein revelations have reminded Tippi Hedren of her own abuse at the hands of Alfred Hitchcock.
The “cool blond” star of Marnie and The Birds tells The Daily Beast that reading about the allegations against Weinstein, who followed up a bizarre JAY-Z quoting statement with an even worse “we all make mistakes,” she was reminded of when Hitchcock sexually assaulted her. Speaking of Weinstein’s history of harassment, Hedren demonstrated how she shuts that shit down these days: “I don’t know what happens to the people I say ‘no’ to and I don’t care. That’s that.”

Charlize Theron: “Many men in positions of power have gotten away with it for far too long.”
In an Instagram post, Theron showed her support for Weinstein’s victims, while expressing optimism in this “step forward in changing” the culture that dismisses assault as “locker room talk.”

From former vice president Joe Biden: Weinstein “used his power in a disgusting and immoral way.”
The former veep talked about Weinstein while at Rutgers University yesterday, where he gave a speech about sexual assault. “This disgusting behavior at least on the part of Harvey Weinstein has been brought to an abrupt and justifiable end,” Biden told the crowd of thousands. He continued: “And it is my hope there are more consequences. This man deserves more than losing his company.”

Olivia Wilde: “What Harvey Weinstein did to those women was nothing short of abuse.”
Wilde began tweeting about the allegations on Monday, showing her support for the survivors while blasting Weinstein and anyone who engages in victim blaming.

Julia Roberts: Harvey Weinstein is a “corrupt, powerful man [who] wields his influence to abuse and manipulate woman.”
Roberts gave a statement to Us Weekly, in which she, too, acknowledges that these revelations may be appalling, but the existence of such abuse is hardly surprising. “We’ve heard this infuriating, heartbreaking story countless times before. And now here we go again,” Robert stated, before encouraging anyone dealing with harassment, abuse, or assault to contact services such as RAINN or the National Sexual Assault Hotline at 800-656-HOPE (4673).

Blake Lively calls Weinstein allegations “devastating to hear.”
Speaking with The Hollywood Reporter, Lively said Weinstein had never harassed or assaulted her, and seemed surprised that “if people heard these stories… I do believe in humanity enough to think that this wouldn’t have just continued.” After sharing her own story of harassment, Lively told THR, “This isn’t a single incident. This cannot happen, this should not happen, and it happens in every single industry.”

Jessica Chastain says “the stories were everywhere.”
Chastain’s statement is succinct, but she recalls her own concerns about working with Weinstein, as well as alludes to the culture that enabled him.

Lawrence Rothman has nine alter egos and says David Lynch saved their life

Tell me about the concept for The Book Of Law.

LAWRENCE ROTHMAN: I kind of dove in. Originally I wasn’t going to do that, but I had this moment where my dad turned into like, the biggest bigot in the world about my gender fluidity and my imagery. The record was done, and then I erased and re-did the vocals after this thing with my dad. At that point I was like, Fuck this. I’m just gonna spew my thoughts to pop songs. It’s how I’ve felt inside all these years. If the hipsters don’t like it, I don’t give a fuck.

And how did the recording go?

I’m a control freak. I wanted to do everything organically, even though it sounds very electronic. Everything was tracked to old tape machines — the old, vintage equipment inspired the sound of the whole thing. Weirdly, just because of the hard work of me engineering every morsel of the record, there’s this level of exhaustion in there. And because of the exhaustion, mixed with my father being a fucking prick from hell, there’s this air of sadness. It’s sort of the soul of the whole thing.

I worked with Justin Raisen, who produced Angel Olsen and Sky Ferreira’s records. I brought him in to produce, and he’s a fucking maniac. That led to drug ODs, fist fights, jail, police getting called on him by record companies, threatening to cut a guy’s neck off on Thanksgiving…so we had to do most of the record pretending we weren’t working with Justin. My wife wouldn’t let me go near him. The record company was like, You can’t work with Justin Raisen. It was bizarre.

I have this crazy studio. I’m a solo artist, but I didn’t want to play everything, that’s kind of boring to me. I like the energy of humans laying down tracks to tape, sort of old school. And I was like, What if we did it where I somehow got all of my idols to come down and we fuck it up? And Justin’s crazy — he was like, “Make your crazy dream list.” And every name I wrote down, Justin got to come down to the studio. We got Kim Gordon, Duff McKagan from Guns N Roses, Pino Palladino who played on D’Angelo’s record. It was fucking nuts. And it’s at my place, too, so I had all these people rolling through. It was fucking awesome. Having Kim Gordon and Duff McKagan together was so, like, illegal.

I didn’t want to feel so sad, but I was tired and someone was putting me down. I looked up to my dad, and the fact that he was just such a dick about not being open to things, that I haven’t talked to him since — it’s just weird. He bought me my first musical instruments. If you can’t even trust your own family members, who can you trust? You’re just here on earth alone and you will die alone. Regardless if you’re surrounded by family or not, everyone exits by themselves. Even while you’re here, it feels like you’re kinda always by yourself no matter what. And you only have yourself to rely on. That was sort of my biggest realization. I think that’s why I obsess and micro-manage everything, because I feel like I only have myself to rely on and trust. Hopefully it won’t harden me too much, but I definitely feel like all I got is myself — and all nine of my different alternate egos as my friends.